The current COVID-19 pandemic and the previous SARS/MERS outbreaks of 2003 and 2012 have resulted in a series of major global public health crises. We argue that in the interest of developing effective and safe vaccines and drugs and to better understand coronaviruses and associated disease mechenisms it is necessary to integrate the large and exponentially growing body of heterogeneous coronavirus data. Ontologies play an important role in standard-based knowledge and data representation, integration, sharing, and analysis. Accordingly, we initiated the (...) development of the community-based Coronavirus Infectious Disease Ontology in early 2020. -/- As an Open Biomedical Ontology (OBO) library ontology, CIDO is open source and interoperable with other existing OBO ontologies. CIDO is aligned with the Basic Formal Ontology and Viral Infectious Disease Ontology. CIDO has imported terms from over 30 OBO ontologies. For example, CIDO imports all SARS-CoV-2 protein terms from the Protein Ontology, COVID-19-related phenotype terms from the Human Phenotype Ontology, and over 100 COVID-19 terms for vaccines (both authorized and in clinical trial) from the Vaccine Ontology. CIDO systematically represents variants of SARS-CoV-2 viruses and over 300 amino acid substitutions therein, along with over 300 diagnostic kits and methods. CIDO also describes hundreds of host-coronavirus protein-protein interactions (PPIs) and the drugs that target proteins in these PPIs. CIDO has been used to model COVID-19 related phenomena in areas such as epidemiology. The scope of CIDO was evaluated by visual analysis supported by a summarization network method. CIDO has been used in various applications such as term standardization, inference, natural language processing (NLP) and clinical data integration. We have applied the amino acid variant knowledge present in CIDO to analyze differences between SARS-CoV-2 Delta and Omicron variants. CIDO's integrative host-coronavirus PPIs and drug-target knowledge has also been used to support drug repurposing for COVID-19 treatment. -/- CIDO represents entities and relations in the domain of coronavirus diseases with a special focus on COVID-19. It supports shared knowledge representation, data and metadata standardization and integration, and has been used in a range of applications. (shrink)

COVID-19 often manifests with different outcomes in different patients, highlighting the complexity of the host-pathogen interactions involved in manifestations of the disease at the molecular and cellular levels. In this paper, we propose a set of postulates and a framework for systematically understanding complex molecular host-pathogen interaction networks. Specifically, we first propose four host-pathogen interaction (HPI) postulates as the basis for understanding molecular and cellular host-pathogen interactions and their relations to disease outcomes. These four postulates cover the evolutionary dispositions involved (...) in HPIs, the dynamic nature of HPI outcomes, roles that HPI components may occupy leading to such outcomes, and HPI checkpoints that are critical for specific disease outcomes. Based on these postulates, an HPI Postulate and Ontology (HPIPO) framework is proposed to apply interoperable ontologies to systematically model and represent various granular details and knowledge within the scope of the HPI postulates, in a way that will support AI-ready data standardization, sharing, integration, and analysis. As a demonstration, the HPI postulates and the HPIPO framework were applied to study COVID-19 with the Coronavirus Infectious Disease Ontology (CIDO), leading to a novel approach to rational design of drug/vaccine cocktails aimed at interrupting processes occurring at critical host-coronavirus interaction checkpoints. Furthermore, the host-coronavirus protein-protein interactions (PPIs) relevant to COVID-19 were predicted and evaluated based on prior knowledge of curated PPIs and domain-domain interactions, and how such studies can be further explored with the HPI postulates and the HPIPO framework is discussed. (shrink)

In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer life (...) experiences, while mood is a quasi-subject pervaded by specific objective quality and thus a ubiquitous phenomenon forming the foundation of our inner life experiences. A practical dimension is thereby, from the outset, embedded in the consideration of both concepts. This is mainly characterized by actions and, correspondingly, ethical aspects, which concern the design and creation of atmosphere and thus the triggering of mood through works of art. Here, on the one hand, the process of artistic formation, long neglected in the European tradition, is given prominence as an aesthetic practice, and on the other hand, an interactive dialogue is effectively established between the artist, the work and the viewer. Due to the fact that atmosphere and mood, both as in-between, emphasize the interaction of the perceiver and the perceived from two sides, here the decisive question is: in what kind of environment do we live or participate and in what way do we experience it? The focus of aesthetics is now not on the conventional issue whether the environment is beautiful or gives us a sense of beauty, but on how the environment influences our feeling of being there (Befinden) through our own sensuality. Such an approach would contribute to a critical transformation in aesthetic methodology, namely from the ontological and/or epistemological what to the phenomenological and anthropological how. -/- The tension between atmosphere and mood, as revealed here, opens up a large space for exploring a new understanding of aesthetics. On this basis the special issue pursued to diversify this discussion on an international level. (shrink)

The aesthetic construction of the world can originally be traced back to the bodily-affective state of being in the surroundings. In this respect, the newly developed aesthetic concept atmosphere enables a new understanding of the interaction between sensation, emotion and the environment, and is therefore of great importance for the development of a contemporary environmental awareness. In reviewing the studies so far, it would be meaningful to further reflect on the following questions: what role does the spiritual dimension play in (...) atmospheric experience? How is it possible for us to be critical of the atmosphere we encounter? How can a bodily-affective approach to the world be opened up by emphasizing atmospheric experience without excluding other legitimate aspects such as value judgments? These issues require re-examination of the current basic approach, according to which, on the one hand, atmospheric experience is largely confined to a pre-reflective level, and, on the other hand, sensation and awareness of atmosphere are viewed as occurring one after another. Practically, in the experience of atmosphere, corporeality and spirituality are not so clearly delineated, based on the fact that sensory recognition of external stimuli always merges with mental actions such as cognition, imagination, beliefs, values, memory and expectation. In this sense, the experience of atmosphere is not a purely biophysiological response at all. Instead, it is largely shaped by spiritual elements and cultural frameworks. The knowledge of traditions, customs, languages, religions, stories, folklore and/or mythology may modify the ordinary perception of things and thus open an unusual way to the atmosphere. The complexity of atmosphere and atmospheric perception reveals a diversity of life experience that can never be thoroughly represented and described, and thus largely opens up new horizons for an interculturally oriented aesthetics. (shrink)

This paper aims to clarify the relationship between extraversion and employees’ innovative and disclose the moderating effect of organizational innovative climate on that relationship. To this end, 300 employees were selected from various enterprises in three Chinese cities, and subjected to a questionnaire survey based on the five factor model (FFM) and 5-point Likert scale. Through statistical regressions, the author explored the effects of extraversion and organizational innovative climate have on employees’ innovative behavior. Then, the organizational innovative climate was divided (...) into five dimensions, and the feature activation theory was implemented to reveal the moderating effect of each dimension on relationship between extraversion and employees’ innovation. Through the above analysis, it is concluded that extraversion has a positive effect on employees’ innovative behavior; the five dimensions of organizational innovative climate all exert a positive effect on employees’ innovative behavior; the resource support in organizational innovative climate has a moderating effect on the relationship between extraversion and employees’ innovation. The research findings shed new light on the improvement of organizational innovative and the construction of an innovative country. (shrink)

Today, the focus of consumption has been shifting from pure use value to aesthetic-experiential value. Against this backdrop, the concept of design is undergoing a corresponding transformation - design is no longer solely about the manufacture of the product itself. Instead, the creation of atmosphere is brought to the forefront of design work, so much so that the product becomes one of the design elements. The focus on the design of atmosphere allows us to better reflect on the interaction between (...) object, form, space, environment and human body, emotion and action. Our study will focus on the following issues: how can we create an atmosphere that can be experienced as good and meaningful? For a designer who often works in an international context, another question seems even more critical: to what extent can a significant atmosphere have an impact that transcends individual cultural boundaries? To answer these questions, we attempt to introduce the concept resonance into an ethical exploration of atmosphere design. A resonant relationship can occur in almost all dimensions of the human-world relationship and thus provide normative guidance for a good way of life. It is the responsibility of designers to enhance resonant sensitivity of ecological, interpersonal, cross-cultural as well as marginalized issues through the creation of atmospheric scenarios. (shrink)

The Polluter Pays, Then Receives (PPTR) principle claims that, had an agent innocently benefited from climate change, it owes moral obligations to the polluters who contributed to a warmer globe. This critical review assesses the evidence, the externalities argument, and the luck egalitarian approach and suggests that there are profound flaws in each of them. In consequence, the PPTR fails to accomplish its objective to incentivise efficient practices since polluting should neither be incentivised nor considered an efficient practice.

As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due to (...) this fact, it is of significance to consider the tension between creativity and mimesis in image practices from an intercultural perspective. (shrink)